The Doré Bible Gallery, Volume 5 — Themes and Context
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For The Doré Bible Gallery, Volume 5 — Themes and Context, the stored edition analysis reports 9,008 words, 40 min estimated reading time, and 2 detected text sections.
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Project Gutenberg metadata also associates the work with “Bible -- Illustrations,” connecting these edition facts with the source record’s subject description.
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Read the Text
Then said he unto me, Prophesy unto the wind, prophesy, son of man, and say to the wind, Thus saith the Lord God; Come from the four winds, O breath, and breathe upon these slain, that they may live.
So I prophesied as he commanded me, and the breath came into them, and they lived, and stood up upon their feet, an exceeding great army.
Then he said unto me, Son of man, these bones are the whole house of Israel: behold, they say, Our bones are dried, and our hope is lost: we are cut off for our parts. Therefore prophesy and say unto them, Thus saith the Lord God; Behold, O my people, I will open your graves, and cause you to come up out of your graves, and bring you into the land of Israel. And ye shall know that I am the Lord, when I have opened your graves, O my people, and brought you up out of your graves, and shall put my Spirit in you, and ye shall live, and I shall place you in your own land: then shall ye know that I the Lord have spoken it, and performed it, saith the Lord.--Ezekiel xxxvii, 1-14.
Respecting the parentage or family of Daniel, the fourth of the great Hebrew prophets, nothing is known, though he appears to have been of noble if not of royal descent (Daniel i, 3). When, in the third year of the reign of King Jehoiakim (607, 606, 605, or 604 B.C.), Jerusalem was first taken by Nebuchadnezzar, Daniel, then a youth, was among the captives carried to Babylon. By the king's orders, he, with others of the Jewish youth, was educated for three years (Daniel i, 3-7). At this time Daniel acquired the power of interpreting dreams (i, 17), which he used with such advantage in expounding a dream of Nebuchadnezzar, that he was made ruler over the whole province of Babylon (Daniel ii, 46-48). Daniel's interpretation of Belshazzar's famous vision having been fulfilled by the capture of Babylon by Darius, that conqueror promoted Daniel to the highest office in the kingdom (Daniel vi, 1-3). The prophet also prospered greatly during the reign of Cyrus (Daniel vi, 28).
The book of Daniel is written partly in Chaldaic or Syriac (the vernacular Aramaic language spoken by the people of Palestine), and partly in sacred Hebrew. It is manifestly divisible into two portions. The first (chapters i-vi) narrating the details of the prophet's life, and the second (chapters vii-xii) setting forth his apocalyptic visions. Much doubt has been cast upon the authenticity of the work. The evident reference in the eleventh chapter to the conquest of Persia by Alexander the Great, which took place about 330 B.C., or more than two hundred years after Daniel flourished, has led many modern critics to believe that the work was composed in the time of the Maccabees.
Dore's picture appears to be intended to represent the prophet meditating over one of the many visions which came to him.
Wherefore at that time certain Chaldeans came near, and accused the Jews. They spake and said to the king Nebuchadnezzar, O king, live forever. There are certain Jews whom thou hast set over the affairs of the province of Babylon, Shadrach, Meshach, and Abed-nego; these men, O king, have not regarded thee: they serve not thy gods, nor worship the golden image which thou hast set up.
Then Nebuchadnezzar in his rage and fury commanded to bring Shadrach, Meshach, and Abed-nego. Then they brought these men before the king.
Nebuchadnezzar spake and said unto them, Is it true, O Shadrach, Meshach, and Abed-nego? do not ye serve my gods, nor worship the golden image which I have set up? Now if ye be ready that at what time ye hear the sound of the cornet, flute, harp, sackbut, psaltery, and dulcimer, and all kinds of music, ye fall down and worship the image which I have made; well: but if ye worship not, ye shall be cast the same hour into the midst of a burning fiery furnace; and who is that God that shall deliver you out of my hands?
Shadrach, Meshach, and Abed-nego, answered and said to the king, O Nebuchadnezzar, we are not careful to answer thee in this matter. If it be so, our God whom we serve is able to deliver us from the burning fiery furnace, and he will deliver us out of thine hand, O king. But if not, be it known unto thee, O king, that we will not serve thy gods, nor worship the golden image which thou hast set up.
Gustave Doré's Bible illustrations in Volume 5 are presented not as standalone artworks but as part of a carefully orchestrated pairing: each engraving is preceded by a page of letterpress that offers a brief analysis of the design. This structure creates a deliberate rhythm, where the reader moves from textual description to visual representation. The letterpress often adopts a narrative tone, summarizing biblical events while hinting at the emotional weight of Doré's compositions. For instance, the account of Daniel in the lions' den emphasizes the king's distress—'his sleep went from him'—before the engraving presumably captures that tension. This interplay between word and image shapes the reader's experience, guiding attention to specific details and pacing the encounter with each plate.
Voice and Descriptive Strategy
The letterpress in Volume 5 employs a consistent voice that is both reverent and explanatory. It does not merely recount scripture but frames each scene with an eye toward artistic interpretation. Descriptions like 'the king cried with a lamentable voice' in the Daniel passage highlight emotional peaks, preparing the reader for Doré's dramatic visual language. The text often uses adjectives that mirror the engraver's style—'magic touch,' 'rich and facile'—creating a feedback loop between verbal and visual praise. This voice is not neutral; it actively shapes how the reader should perceive the artwork, emphasizing grandeur and pathos. The editor's choice to include phrases like 'the lions had the mastery of them' underscores the violent contrasts that Doré favored, ensuring the text amplifies the engravings' impact.
Pacing and Structural Rhythm
The volume's pacing is dictated by its format: each plate is a discrete unit, preceded by a page of text. This creates a stop-and-start rhythm, where the reader must pause to read before turning to the image. The letterpress itself varies in length and density; some entries are concise, while others, like the account of Belshazzar's feast, include extended quotations from Daniel. This variation controls the tempo—longer passages build anticipation, shorter ones deliver quicker transitions. The editor notes that the plates were 'chosen with special reference to the known taste of the American people,' suggesting a deliberate sequencing to maintain interest. The result is a curated journey through biblical narrative, where textual and visual elements alternate to sustain engagement.
Recurring Details and Thematic Emphasis
Certain motifs recur across the excerpts, revealing the editor's thematic priorities. The phrase 'the law of the Medes and Persians, which altereth not' appears in the Daniel story, emphasizing irrevocable decrees and divine intervention. Similarly, the description of Amos as a 'herdsman and a gatherer of sycamore fruit' grounds prophecy in humble origins, a detail Doré likely rendered with rustic specificity. The letterpress also repeatedly highlights moments of transition—Belshazzar's fall, Daniel's deliverance, Amos's calling—suggesting that the volume favors scenes of crisis and transformation. These recurring elements, from legal rigidity to sudden reversal, give the collection a cohesive thematic thread, even as the engravings themselves vary widely in composition and mood.
Readers approaching Volume 5 should attend to how the letterpress shapes their viewing experience. The text does not simply caption the images; it primes the eye for certain details and emotional registers. Noticing when the description lingers on a gesture or a phrase—like 'the king sealed it with his own signet'—can reveal what the editor considered most essential in Doré's design. This volume rewards a slow, alternating reading, where word and image are allowed to resonate together.
Flipping through Doré’s engravings, I remembered sitting with my grandmother’s old Breviary, her whispered Latin filling the gaps between dark, carved saints. The stillness here mirrors that—text and image breathing together, unhurried. The Divine Office: A Study of the Roman Breviary — Key Ideas to Explore once gave me that same quiet hush, a sense of time folding into prayer, page after page.
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